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What is your take on your character, Patrick, who was described in The New York Times review of the off-Broadway show as a “sensitive hustler”? He’s sort of a drifter who has really set out on his own, and what he has to offer, really, is his youth and some level of being desirable, and so he hustles to get by.But what I love about him is that what I’ve just said doesn’t define him: there’s no song where he’s bemoaning his fate as a sex worker. He just takes [hustling] as what he has to do and thinks of his life as being about adventure and seeing the world: he is a very sensitive soul but he’s also very funny and, yeah, I’m really kind of in love with him.I love new work and have been involved in the development of lots of new pieces. This is much more suited to my natural instrument than Les Miz, more in terms of genre than range.I didn’t start training until my senior year in high school, and my voice has always been more suited to a folksier, “rockier” sound: the Spring Awakenings of the world are way more my wheelhouse.
But this feels great when you think about how Rent flopped here and Spring Awakening had a very short run.People talk to me about Smash every single day, and I’m aware that everyone wants the kind of security that a [TV show] like that provides.But at the same time I feel grateful that it didn’t go on and on and on and that spoiler alert! I’ve gotten to do plays at the Mark Taper Forum and Les Miz on Broadway and create the Deaf West Spring Awakening and be in it, and now I’m here!It’s like, “what if there were a production of this show done like this,” and Michael can send those emails and make it happen.It’s really an amazing time to be able to walk the walk and take ideas and make them into opportunities for other people.